National Park Service New Orleans Jazz U.S. Department of the Interior New Orleans Jazz National Historical Park A New and Different National Park
A painting of a 1905 Most historical parks in the national park system are created to commemorate a photograph of the battle, a place, or a person that played an important role in our nation's history. In Imperial Orchestra 1994, Congress authorized a new and different park in New Orleans as a national tribute to the uniquely American invention - jazz. The park's purpose is to preserve Photographs from the Al Rose Collection, Hogan Jazz Archive, information and resources associated with the origins and development of jazz in Tulane Universtiy the city widely recognized as its birthplace.
Early Musical New Orleans, founded in 1718 as the center of pate in drumming, music-making, sporting, Influences the French Louisiana colony, increased signif- and dance activities. Listed on the National icantly in ethnic diversity in the decades fol- Register of Historic Places, Congo Square lowing the 1803 Louisiana Purchase. The holds special symbolic importance to Native existing culture comprised of mostly Americans and African-Americans because of American Indians, French, Spanish and West the role the site played in New Orleans' musi- African people was joined by a new wave of cal and social heritage. German, Italian, Haitian, and Asian-Pacific immigrants, English-speaking Americans and New Orleans prominence as America's first enslaved Africans from the U.S. and other early center for opera, caused both its melodi- parts of the Caribbean. This rich mix result- ous lyricism and repetitive rythmic figures to ed in considerable cultural exchange, creating also exert a powerful influence on the devel- a unique environment for the development of opment of the music. In addition, various folk jazz. cultures contributed their syncopations to this emerging art form. The latter of these A well-known example of an early influence influences culminated in American Ragtime to the origins of jazz is the African dance and one of the main precursors of jazz. drumming tradition. As early as the 1780’s, Throughout the ragtime era, New Orleans E.W. Kemble’s depiction of African Americans gathered on Sundays in people were interpreting and composing dances in Congo Square, based on the open area just outside the city walls near "rags" in a way indigenous to New Orleans. descriptions from George Washington Cable. From Century the site of Fort St. Ferdinand. Now known as All over the United States, brass bands began Magazine, April 1886. Congo Square, this area was used by supplementing the standard march repertoire American Indians, slaves, and free people of with ragtime pieces. color to market goods, socialize and partici-
The New Orleans At the turn of the century New Orleans was a In the early 1900’s, the Music Scene thriving music center. Legitimate theater, building at 401 S. Rampart, vaudeville, music publishing houses and was an important gathering place for African-American instrument stores employed musicians in the musicians. The building central business district, while other estab- housed the famous Eagle lishments flourished in and around the "red Saloon on the first floor, light" district near Canal and Rampart and the Odd Fellows Masonic Ballroom on the streets. On the shores of Lake Pontchartrain, 3rd floor. bands competed for audiences at amusement parks and resorts. Street parades were com- mon in the neighborhoods, while community social halls and corner saloons held dances Throughout the late teens, almost nightly. Many of these street parades 20’s, and early 30’s, the were sponsored by benevolent societies Halfway House at City Park Avenue and the New Basin which various ethnic groups organized to Canal was a famous dance provide the benefits that insurance compa- hall featuring musicians nies later supplied. Once insurance compa- such as Abbie Brunies, nies fulfilled these needs, New Orleanians Charlie Cordilla, and Joe Loyacano. still wanted to take to the streets with their parties. They did this by forming social aid and pleasure clubs or marching clubs which continue the parading tradition to this day. The Music New Orleans music began to spread to other Original Dixieland Jazz Band headed to Spreads cities as early as the 1850s. Musicians who Chicago in 1916, and then to New York in 1917 joined riverboat bands, vaudeville, minstrel and where they cut the first commercial jazz record- other show tours, helped begin a tradition of ing for Victor. Suddenly New Orleans jazz was a exporting New Orleans music that continues national craze. today. Perhaps the most notable departure from New Many early New Orleans groups left the city to Orleans was in 1922, when King Oliver sum- tour the country. Jelly Roll Morton, an innova- moned Louis Armstrong to Chicago. tive piano stylist and composer, began his Armstrong’s brilliant playing with King Oliver’s odyssey outside of New Orleans as early as 1907. band helped to popularize the polyphonic The Original Creole Orchestra organized by Bill ensemble style of New Orleans. He also elevat- Johnson, including cornetist Freddie Keppard, ed the jazz solo to unprecedented artistic levels. was an important group that left New Orleans Technical improvement and popularity of and toured the Orpheum Theater circuit with phonograph records helped spread his instru- gigs in Chicago and New York, as did trombon- mental and vocal innovations, making him ist Tom Brown and his Band From Dixieland. internationally famous. Nick LaRocca and other members of the
The Music New Orleans musicians and their styles contin- former. Player pianos, phonograph recordings, Continues ued to influence jazz internationally as it went radio, and film brought the sights and sounds of through a rapid series of stylistic changes. jazz musicians to audiences of millions. Clubs, Swing, a jazz derivative, became the unchal- cabarets, and ballrooms enlarged the audience lenged popular music of America during the and allowed audience-performer interactions. 1930s and 40s. Later innovations, such as bebop in the 1940s and avant-garde in the 1960s, Although the small band New Orleans style fell departed further from the New Orleans jazz tra- out of fashion, many jazz enthusiasts turned dition. back to New Orleans music to hear and record local musicians that were still actively playing As with many art forms, the essence lies in live traditional jazz. Many artists reached a new performance. Technological developments after level of recognition in the 1980s. Today, the 1900 made it possible to preserve and transmit United States Government recognizes jazz as an music to audiences far removed from the per- American art form.
Recent United States Congress Resolution 57 of 1987 park is to: "preserve the origins, early history, Legislation designated jazz as "a rare and valuable national development and progression of jazz; provide American treasure." The United States Senate visitors with opportunities to experience the added, "to which we should devote our atten- sights, sounds and places where jazz evolved; tion, support and resources to make certain it is implement innovative ways of establishing jazz preserved, understood and promulgated." educational partnerships; assist in the preserva- tion, education, and interpretation of jazz as it In 1990, Public Law 101-499 authorized and has evolved in New Orleans; and to provide directed the Secretary of the Interior, in consul- technical assistance tation with the Secretary of the Smithsonian to organizations Institution to conduct a study of the suitability involved in jazz, and and feasibility of preserving and interpreting its history." the origins of jazz in New Orleans.
On October 31, 1994, the findings of that study Visitors enjoy a live resulted in the U.S. Congress passing Public performance at the Law 103-433, which created New Orleans Jazz park’s French Quarter National Historical Park. The purpose of the Visitors center.
Planning For Visitors to New Orleans will soon have an For additional park information, please write: The Future opportunity to see, hear, and feel the story of Superintendent, New Orleans Jazz National jazz at the park's new home, a unique jazz com- Historical Park, 419 Rue Decatur, New Orleans, plex comprised of four structures connected by Louisiana 70130, telephone (504) 589-4806, by a system of lagoons and green space in the heart e-mail to: [email protected], or of New Orleans. visit our web-site at www.nps.gov/jazz.
North The new facility, located in Marais St.
Armstrong Park, involves the Treme St restoration and renovation of LOUIS ARMSTRONG St. Claude Ave Basin St. four buildings that will house PARK
the park's exhibits, perform- N Rampart St N Rampart St ance and education venue, resource center, and adminis- Burgundy St trative headquarters. Dauphine St
Canal St Iberville St Bienville St Bourbon St St Toulouse St Peter Orleans St. Ann St Dumaine St St. Phillip St Ursuline Ave Gov Nicholls St Barracks St Esplanade Ave The present Visitors Center is Royal St located at 916 N. Peters Street, Exchange Pl St Louis Cathedral
in the city's French Quarter. Chartres St Conti St St. Louis St Cabildo Presbytere Exhibits, live performances, Jackson Decatur St Square and public programs are French Mkt Pl Frenchmen St New Orleans Jazz NHP N Peters St offered at this location. All Magazine St N Peters St Administrative Office & Elysian Fields Ave Jean Lafitte NHP&P New Orleans Jazz NHP events are free and open to Visitors Center Visitors Center Old U.S. Mint the public. S Peters St Mississippi River
EXPERIENCE YOUR AMERICA - Prepared in Cooperation with the New Orleans Jazz Commission